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The Sculpted Voice an Exploration of Voice in Sound Art

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The Sculpted Voice an Exploration of Voice in Sound Art The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional method with the use of digital carving tools. From my voice I generated audio material, which could not be associated with its origin. In 1976, Joan La Barbara, renown for her exploration of extended vocal techniques defined the voice as “the original instrument”.1 Voice has a special status. Composer Trevor Wishart underlines the fact that “the human voice is not just another musical instrument” but a “unique and intrinsically multimedia source of sound events”, formed of a variety of expressions “animal expression (laugh, scream, cry)”, range, personality, language and song.2 The 20th - and 21st - century technological progress made voice manipulation possible. The accessibility of reproduction - the tape recorder – has allowed the voice to be ‘printed’, thus becoming a tangible material with a second life. We can correlate the emancipation of recorded voice with the emancipation of sounds under the electroacoustic research led by Pierre Schaeffer first at ‘Club d’Essai’ then at GRM3. With musique concrète, sound - and therefore voice - became a malleable, sculptable material: a sound material whose identity could now be technically manipulated, looped and obscured. In 1951, Schaeffer organised the first musique concrète workshop attended by Pierre Boulez, as well as French composer and musicologist Monique Rollin.4 The following year Rollin delivered with Étude vocale [Motet] (1952)5 a surprising short recording of multiple pitched and spliced voices, a naive analogue emulation of what is now achievable with digital effects available such as Beat Repeat6 in Ableton7. 1D. Krcatovich, ‘Joan La Barbara Voice is the Original Instrument’, The Quietus, 29 April 2016, http://thequietus.com/articles/20126-joan-la-barbara-voice-is-the-original-instrument-review, (accessed 30 April 2018). 2 T. Wishart, ‘The function of text in the VOX Cycle’, Contemporary Music Review, 5:1, 1989, p.190. 3 GRM, Groupe de Recherches Musicales, Paris, France. 1951. 4 M. Battier, ‘What the GRM brought to music: from musique concrete to acousmatic music’, Organised Sounds, vol.12, No.3, 2007, Cambridge University Press, p.194. 5 ‘L’art de l’étude, Archives GRM Various artists’, https://electrocd.com/en/album/2498/Various_artists/Archives_GRM, (accessed 09 October 2018). 6 ‘Guide to Beat Repeat from Quantize Courses’, https://www.ableton.com/en/blog/guide-beat-repeat-quantize-courses/, (accessed 12 October 2018). 7 software music sequencer and digital audio workstation. 2 In the second half of the 20th century, visual artists took an interest in exploring sound. With art and sound colliding, methods and terminology inevitably merged between the two disciplines. With the digital revolution, new ‘sculpting’ tools emerged such as IRCAM’ s AudioSculpt8 and the open source SPeAR 9. AudioSculpt’s name itself comes from the idea of sculpting the sound directly on its graphical representation. Sounds are sculpted with filters: a spectral transformation occurs. Granular Synthesis10 available for instance through the app Borderlands11 allows an ever-evolving matter to be shaped. In Pro Tools12, the function ‘elastic properties’ allows the sound material to be stretched and compressed. These softwares have been greatly contributing to expand the plastic dimension of sound thus, voice. In the 1980s, Trevor Wishart demonstrated his extensive research on sculpting the voice with his notable work VOX cycle (1980-1988). Wishart states that the voice is “more flexible in its sonic capabilities that any contrived instrument”.13 Around the same time, electronic music pioneer Laurie Anderson was experimenting with filters, sculpting her voice to speak in a masculine register, ‘The Voice of Authority’14, thus operating one of the first notable gender manipulations on recordings. 1978 marked the launch of Anderson’s new sculpted voice at The Nova Convention.15 From pitch to texture sculpting, the new millennium saw the release of the astonishing LP record by Norwegian composer and performer Maja Ratkje16, Voice (2002), a combination of extended vocal techniques and sculptural sound treatments. In Voice, the material is carved, torn, stretched and expanded. 8 cf. AudioSculpt, IRCAM, http://anasynth.ircam.fr/home/english/software/audiosculpt, (accessed 30th April 2018). 9 cf. SPeAR, Sinusoidal Partial editing Analysis and Resynthesis, M. Klingbeil, http://www.klingbeil.com/spear, (accessed 4rth May 2018). 10 sounds are broken into tiny grains which are then redistributed and reorganised to form other sounds. 11 cf. Borderlands http://www.borderlands-granular.com/app/, (accessed 15 November 2018). 12 digital audio workstation developed and released by Avid Technology. 13 Wishart, op. cit., p.190. 14 J. Caux, ‘Laurie Anderson brings out her violins’, Art Press, vol. 285, December 2002, p.29. 15 R. Barry, ‘Critical Stargazing: An Interview with Laurie Anderson’, The Quietus, 3 August 2010, http://thequietus.com/articles/04742-laurie-anderson-interview, (accessed 18 July 2018). 16 cf. M. Ratkje, http://ratkje.no, (accessed 3 July 2018). 3 More recently, electronic artist Holly Herndon whose research also lies in voice manipulation stated: I construct patches to augment and transform aspects of the voice in an attempt to uncover new perspectives and identities from a familiar source. I play a lot with gender on that record, it is incredibly liberating to be able to manipulate my voice to be two octaves deeper, to sound like a car crash or a rhythm section.17 There is indeed in Herndon’s practice an analogy between sculpting a material - a stone - and sculpting the voice. The composers mentioned above have all explored and challenged the plastic dimension of voice through the medium of recording. Author and curator Kersten Glandien states that “artists understood sound as ‘matter’ and sought to mould sound, by giving it a sculptural structure”.18 French sonic researcher and ‘Voice Sculptor’ Gilles Azzaro has been driven by giving sound a sculptural structure. Investigating the invisibility of sound and its materialisation, Azzaro operates a literal plastic conversion of voice into sculpture with Barack Obama: The Next Industrial Revolution (2013), a spectrogram of Obama’ s voice print expanded into a five-foot sculpture.19 Figure 1 Gilles Azzaro: Barack Obama: The Next Industrial Revolution, 2013. 17 C. Moss, ‘Continuous Partial Listening: Holly Herndon in conversation’, Rhizome, 22 January 2018, http://rhizome.org/editorial/2014/jan/22/holly-herndon/, (accessed 27 April 2018). 18 K. Glandien, ‘Art on Air: a profile of new radio art’ in Music, Electronic Media and Culture, ed. S. emmerson, Ashgate, Aldershot a.o., 2000, p.172. 19 cf. G. AZZaro, http://www.gillesaZZaro.com/pages/fr/bio.htm, (accessed 17 May 2018). 4 2- The spatialisation of voice From the two-dimensional medium of recording, the voice has since expanded to a three- dimensional spatialisation - a surround environment - as well as being hosted within sound sculptures in large-scale installations. The earliest sound sculptures appear in the 1950s: French inventors François and Bernard Baschet pioneered a new way of combining sound and sculpture resulting in a large collection of original instruments - Les Sculptures Sonores (1952).20 As we examine the interplay between voice and sculpture in installation art, we can perhaps expand the terminology of ‘sound sculpture’ to ‘voice sculpture’ when dealing only with voices as the main audio source. The need to differentiate can be justified because as mentioned before, voice has a ‘special status’, set apart from the other instruments as an outsider in the sound world. Sound artists Janet Cardiff, Susan PhilipsZ and Laurie Anderson are linked by a common feature: their background in the expanded field of sculpture and their extensive work with voice in the field of sound art. envisaged as a sculptural piece, Cardiff’s installation The Forty Part Motet (2001) is consisting of forty loudspeakers arranged in a circular configuration, playing
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